Performer
A performer whose catalogue work here is strong, with the fuller case still to be made.
Nutevio rank
#58388
of 909177 performers
Top 10%
Lucille La Verne works on versatility rather than volume, and the catalogue keeps proving that the quieter choice was the correct one.
The essay
Our editors on the work, the patterns and the reason this body of work holds together.
Lucille La Verne appears in 4 films in the Nutevio catalogue, and none of them would work the same way without Lucille. Snow White and the Seven Dwarfs is the clearest case: a film rated 7.3 by our editors, where the performance carries weight the script only implies.
The recognisable elements are versatility, transformation, quiet performance. Watch two of these films back to back and the method separates from the material — the same instrument, tuned differently for fantasy, family, animation. It is a style built on what is withheld as much as what is played.
Working with William Cottrell, Jack Conway, Burt Gillett and others, Lucille La Verne helped set a standard other performers now audition against. Awards bodies have been slower than the work, which is usually the sign of a career built on choices rather than campaigns.
Snow White and the Seven Dwarfs (1938) as Queen / Witch (voice) (uncredited) · Little Caesar (1931) as Ma Magdalena (uncredited) · A Tale of Two Cities (1935) as The Vengeance
Career snapshot
Ranked #58388 of 909177 performers tracked in the Nutevio library.
Films in Nutevio
4
1931–1938
Career length
7 yrs
Measured across our catalogue
Academy Awards
—
Unknown
Oscar nominations
—
Unknown
Highest Nutevio score
7.3
Snow White and the Seven Dwarfs
Average Nutevio score
6.7
Across catalogue work
Highest IMDb rating
7.1
Snow White and the Seven Dwarfs
Most frequent director
William Cottrell
1 film together
Longest collaboration
1×
With William Cottrell
Most common genre
Animation
2 titles
Average runtime
1h 14m
Across catalogue work
Golden Globe wins
—
Unknown
Nutevio metric
Ten weighted categories, applied identically to everyone we cover.
Nutevio Performer Score
6.8
out of 10
A performer whose catalogue work here is strong, with the fuller case still to be made.
Nutevio metric
Cultural impact and legacy, measured separately from craft — how far the work travelled once it left the cinema.
Nutevio Influence Score
6.3
out of 10
A quieter influence — felt inside the films rather than across the industry.
How far the work travelled past the people who saw it first.
What survives once the release-week conversation has burned off.
Institutional acknowledgement, weighted but never decisive.
Years of chosen, relevant work rather than years merely employed.
Statuettes, read as evidence rather than verdict.
Roles named without needing the film named alongside them.
Directors who wrote parts because this performer existed.
The reading other performers now have to answer.
Actor DNA
A fingerprint derived from the roles themselves — register, range and the kind of film they carry.
The shape of a career
Every performance plotted in time. Hover a point to read the title behind it.
Peak years
Where the scores, the awards and the sheer volume of work agree with each other.
Best decade
1930s
6.7 average MV
The 1930s are where the work and the material meet. Snow White and the Seven Dwarfs, A Tale of Two Cities, Babes in the Woods — the run our editors reach for first when the argument is about range rather than fame.
Highest average Nutevio score
1930s
6.7
Across 4 catalogue films in this decade, our scores never drop below the level a career is judged on.
Highest average IMDb rating
1930s
6.7
The public agrees most strongly about this stretch — useful context, and occasionally a decade behind our own reading.
Most awarded era
1930s
0 Academy Awards
Statuettes for the films themselves, which is the honest way to read an ensemble career. Snow White and the Seven Dwarfs, A Tale of Two Cities, Babes in the Woods.
Most productive era
1930s
4 films
The busiest stretch of the catalogue — volume that reads as appetite rather than availability.
Range, mapped
Genres down the side, decades across the top. Warmer cells mean stronger titles.
| Genre | 1930s |
|---|---|
| Drama | 6.72 films |
| Action | 6.71 film |
| Crime | 6.71 film |
| Romance | 6.61 film |
Chronology
Firsts and peaks
The turning points, in the order they happened.
First film in Nutevio
1931Little Caesar
Where our catalogue meets this career, as Ma Magdalena (uncredited).
Highest rated performance · Career peak · Most recent film
1938Snow White and the Seven Dwarfs
7.3 on the Nutevio scale, the top of the catalogue for this performer. Weighing billing against the film's own quality, this is the point where everything aligned at once. The current state of the argument, as Queen / Witch (voice) (uncredited).
Our order
Every performance in the catalogue, ordered by Nutevio Score.
Every title
Filter by genre or decade, and compare any two titles side by side.
4 of 4 films
as Queen / Witch (voice) (uncredited)
Directed by William Cottrell
as Witch (voice) (uncredited)
Directed by Burt Gillett
as The Vengeance
Directed by Jack Conway
as Ma Magdalena (uncredited)
Directed by Mervyn LeRoy
From the library
Every movie and TV credit stored for this name in the Nutevio catalogue — filter by media, role or sort by rating.
Loading credits…
The defining work
#1
Queen / Witch (voice) (uncredited)
Snow White and the Seven Dwarfs (1938)
Performance score7.6
The performance the rest of the career is read through. Queen / Witch (voice) (uncredited) gives Lucille La Verne a structure to work against, and the film hands over its centre of gravity without hesitation.
View movie#2
Witch (voice) (uncredited)
Babes in the Woods (1932)
Performance score6.9
Babes in the Woods asks for something the previous films did not, and gets it. Witch (voice) (uncredited) is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#3
The Vengeance
A Tale of Two Cities (1935)
Performance score6.6
A Tale of Two Cities asks for something the previous films did not, and gets it. The Vengeance is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#4
Ma Magdalena (uncredited)
Little Caesar (1931)
Performance score6.6
Little Caesar asks for something the previous films did not, and gets it. Ma Magdalena (uncredited) is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movieStart here
A guided path through the work, ordered so each film explains the next.
Best entry point
as Queen / Witch (voice) (uncredited)
Start here. Snow White and the Seven Dwarfs is the clearest statement of what Lucille La Verne does — accessible, 83 minutes, and rated 7.3 by our editors. No context required.
Our editors order this path by accessibility first and chronology second. You meet Lucille at the most legible performance, then move forward in time so each film reads as a response to the one before it rather than a repetition of it.
Little Caesar (1931)
A deliberate change of key after Snow White and the Seven Dwarfs — same instrument, unfamiliar tuning, and the reason range gets mentioned.
Babes in the Woods (1932)
A deliberate change of key after Little Caesar — same instrument, unfamiliar tuning, and the reason range gets mentioned.
A Tale of Two Cities (1935)
A deliberate change of key after Babes in the Woods — same instrument, unfamiliar tuning, and the reason range gets mentioned.
Company kept
The directors and performers this career keeps returning to.
Mervyn LeRoy
Director
1 film together
Notably Little Caesar
Burt Gillett
Director
1 film together
Notably Babes in the Woods
Jack Conway
Director
1 film together
Notably A Tale of Two Cities
William Cottrell
Director
1 film together
Notably Snow White and the Seven Dwarfs
Behind the camera
Who casts this performer, how often, and what the pairing produces.
William Cottrell
Director
1 film together · 7.3 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Snow White and the Seven DwarfsMervyn LeRoy
Director
1 film together · 6.7 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Little CaesarJack Conway
Director
1 film together · 6.6 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
A Tale of Two CitiesBurt Gillett
Director
1 film together · 6.2 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Babes in the WoodsSix degrees
Follow the thread outward — director, film, co-star, and the film after that.
Categories of our own
Six editorial categories we apply to every performer we cover.
Most rewatchable
Snow White and the Seven Dwarfs
as Queen / Witch (voice) (uncredited)
The one that survives a fourth viewing. Nothing in the performance depends on surprise, which is why it keeps paying out.
Most emotional performance
Snow White and the Seven Dwarfs
as Queen / Witch (voice) (uncredited)
Grief played at conversational volume. The film never asks the audience to cry; the performance simply makes it difficult not to.
Most influential performance
Snow White and the Seven Dwarfs
as Queen / Witch (voice) (uncredited)
You can hear this reading in other actors' auditions a decade later — the surest measure of influence there is.
Best ensemble performance
Little Caesar
as Ma Magdalena (uncredited)
Work that makes everyone else in the frame better without ever pulling the camera towards itself.
Career defining performance
Snow White and the Seven Dwarfs
as Queen / Witch (voice) (uncredited)
If the career had to be argued in a single scene, our editors would pick one from this film and rest the case.
In their films' words
“You can build a whole film around a performer who knows when not to speak. Lucille La Verne has known it for a long time.”
Head to head
Put two careers on the same scale and see where the argument actually sits.
Ours alone
Recognitions handed out by this desk, on criteria no awards body uses.
Animation Legend
Awarded
2 catalogue titles in animation, each one a reference point for the films that followed.
Our desk
Best ending, best opening, best twist and the rest — categories we apply to everyone we cover.
Best ending
Snow White and the Seven Dwarfs
as Queen / Witch (voice) (uncredited)
The last five minutes reorganise everything before them, and hold up when you already know what's coming.
Best opening
Little Caesar
as Ma Magdalena (uncredited)
A first sequence that states the rules of the film without explaining a single one of them.
Most emotional
Snow White and the Seven Dwarfs
as Queen / Witch (voice) (uncredited)
The film where the technique steps aside and lets the feeling arrive undefended.
Best twist
Snow White and the Seven Dwarfs
as Queen / Witch (voice) (uncredited)
A reversal earned by information the film gave you and trusted you to misread.
Best visual achievement
Little Caesar
as Ma Magdalena (uncredited)
Images that would survive with the sound switched off.
Best action sequence
Little Caesar
as Ma Magdalena (uncredited)
Geography, stakes and consequence held in the same frame — spectacle you can follow.
Best dialogue
A Tale of Two Cities
as The Vengeance
Lines written to be spoken, staged so the pauses do half the work.
Most underrated film
Babes in the Woods
as Witch (voice) (uncredited)
The public vote sits below ours on this one, and the direction is the reason for the gap.
If you like this performer
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Bonnie Hunt
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Michael Caine
Built a career in the same territory: adventure and drama
David Krumholtz
Built a career in the same territory: action and adventure
Cillian Murphy
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Have your say
Community
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Reference
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